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Princess Ileana wrote this memoir shortly after relocating to the US in the s. It tells the story of a life full of suffering, tragedy, and exile, but all is suffused with.
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River West is a young company, and few of its ideas have been directly tested in the marketplace. The revival of Brim, for instance, has yet to crystallize into a plan with real manufacturing and distribution partners. But River West is starting to bring some familiar names back into the consumer realm. The firm has also played a role in the return of Eagle Snacks to some grocery-store aisles. In late January, Drugstore.
And by way of a deal with River West, Phantom, a Canadian hosiery manufacturer, is pushing a new version of Underalls to department-store and boutique clients in the U. Whether these brand-reanimation efforts pan out as a successful business strategy or not, they offer an unusual perspective on the relationship between brands and the brain. Such cases are misleading, though, because they are not typical of most of what we buy. A great deal of what happens in the consumer marketplace does not involve brands with zealous loyalists.
What determines whether a brand lives or dies or can even come back to life is usually a quieter process that has more to do with mental shortcuts and assumptions and memories — and all the imperfections that come along with each of those things. Only his designer-eyeglass frames deviate from his overall demeanor. Earle loves brands. They are not mere commercial trademarks to him, but pieces of Americana. At Kraft he observed the same mergers-and-consolidation process from a different angle, and he seems to have found it equally frustrating.
Consumers like them. Even so, he has set out to make this particular civic mission turn a profit. While he recognizes that a given brand might not be able to survive in the portfolio of a multinational, different sorts of business models might work to sustain it. As surely as the ownership of brands has consolidated through one megamerger after another, the consumer market seems to be moving in the opposite direction, with an individualism-fueled demand for almost unlimited variety. Unilever bought Helene Curtis in , acquiring a new batch of cosmetic, shampoo and deodorant brands that had to be integrated into those the conglomerate already offered.
But by the early s, Salon Selectives had become a casualty of brand-portfolio consolidation. A few years later, River West acquired what was left of it: intellectual property like the trademarks and the original formulas. Earle and Zeffren are partly motivated by the belief that there is a core of Salon Selectives fans out there who miss their product and are eager to buy it again. You would think, then, that the goal would be to give those consumers their old brand back, just as it once was.
And sure enough, when I visited Anne West, the chief marketing officer of the new Salon Selectives, there was an array of pink plastic bottle samples in her office, part of an attempt to match the old color as closely as possible. She showed me a video in which a surprising number of randomly confronted Chicagoans, asked if they remembered Salon Selectives, responded by singing the jingle.
Then she showed me storyboards for new Salon Selectives ads, which were not much like the original ones at all.
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She went on to explain that while the bottle color would be the same, its shape would be different. West said fans of the brand in its heyday frequently cited that signature smell as one of the things they missed most about the shampoos. But the real point now is to attract younger customers who probably never used the stuff.
The spots do not announce the return of a favorite old brand, or even allude to the fact that Salon Selectives was ever gone. In one, a woman escapes from prison and immediately washes her hair. Much will depend on specific associations with a product — which is not the same thing as a brand.
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The holy grail example of brand reanimation is the Volkswagen Beetle, which a few years ago rose from dormancy and became a hit all over again in an updated form that was both nostalgic and contemporary. That kind of thing. Such abstract notions are much on display at the Licensing International Expo, an annual event at which the owners of cultural properties — TV shows, movies, cartoon characters — meet with makers of things and try to negotiate deals granting them a paid license to use the properties to add meaning and market value to whatever things they make.
A surprising number of the symbols represented at the expo held last summer in New York were simply brand logos. Spam, for instance, had its own booth. At one point I encountered a person dressed up as a can of Lysol, which is represented by the Licensing Company. Another firm that represents a number of consumer brands is the Beanstalk Group, which staked out a rather large chunk of floor space at the expo, complete with a coffee bar and about 20 tables. Beanstalk was exploring strategies to revive the Coleco and Brim brands as, essentially, licensing fodder.
Michael Stone, the president and chief executive of Beanstalk, has a refined sense of the licensing business, and how consumer brands fit into it. He knows what many people think the business boils down to: I make plastic lunchboxes and you own the rights to reproduce images of Spider-Man.
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How about a Spider-Man lunchbox? Stanley hired Beanstalk about nine years ago. In contrast to the fanatical-devotion theory, part of the point of most branding is very specifically to circumvent conscious thought. Brand owners want a way into your purchase heuristics.
This is not brand loyalty. And by and large, we trust it. We have a general idea of Stanley that fits into our hardware-store purchase heuristics. But there is a great deal of imperfection and vagueness in these thought processes, and that is good news for a licensor. What Beanstalk did not do when it took on Stanley as a client was recommend investing in a ladder-production facility and hiring a bunch of workers, plus a sales force to blitz potential retail channels.
Stanley Works, as a company, has actually been moving in the opposite direction, closing factories and outsourcing its manufacturing since the s. Instead, Beanstalk worked out a licensing deal with Werner, which was already the biggest maker and distributor of ladders in the country. So Werner started making and selling ladders with the Stanley name on them.
This gave Werner a way to get more shelf space, reach more consumers and make more sales. What it gave Stanley was its name on a new product and a licensing fee. Beanstalk has worked out many such deals, hooking up the Stanley brand with manufacturers of work gloves and boots, power generators and a variety of other things that Stanley never made and does not make now. Too many such deals, or the wrong kinds, can boomerang: this happens with some regularity in the fashion world, when a famous designer name gets spread over so many products, with so little regard to quality, that the entire image of the brand sinks.
View all New York Times newsletters. Stone mentioned White Cloud.
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These were then acquired by an entrepreneur, who worked out a licensing deal with Wal-Mart to make White Cloud an exclusive Wal-Mart product. It became, essentially, a store brand, but infused with equity of mass-market familiarity. Its trademarks were acquired by River West and sold to CVS, where it is back on the shelves as a stealth store brand.
And presumably enjoying better margins than it would if, like a traditional store brand, it competed solely on low price, not trustworthy-brand familiarity. My read was that this is what Stone thought should happen to Brim — and that Earle had mixed feelings, believing, perhaps, that Brim could come back as something bigger. Young people who are just starting out will find this book useful as part of their guiding light as they step out to set, review and achieve their life goals.
Older folk will find encouragement in this book to try again things they may have given up on as well as help their own children to chart their course in life. If I Were to Live Again will prove particularly inspiring to those who have emotional ups and downs bordering on midlife crisis and spur them on to try out things they may have missed out of in earlier years. In each short account of a part of life touching on such areas as faith, money, relationships, career and business, Kenneth extracts key lessons by engaging in deep, out-of-the-ordinary thinking that will inspire the reader to deeper thinking and motivate people to take new courses of action that will trigger fresh outcomes.
The book is also designed to bring a little more order and purpose to the lives of those who belong to the generation popularly known as millennials. The nuggets at the end of each chapter are biblical and profoundly timeless. If I Were to Live Again is a great read for anyone who wants to "live again".
People of all walks of life will find it a thought-provoking piece.
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